Colegiul Naional Mircea cel Btrn Constana

LUCRARE DE ATESTAT

James Joyce
Ulysses

Elev: Maria Enache Profesor coordonator: Stelua Andrei

Constana

mai 2016
 TABLE OF CONTENTS

ABSTRACT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .
INTRODUCTION.............................................................................................................

CHAPTER I

I.1. Short biography.....................................................................................................

I.2. Major works..........................................................................................................
I.3. Loss of faith..........................................................................................................

CHAPTER II
II.1. Background...........................................................................................................
II.2. Structure...............................................................................................................
II.3. Synopsis........................................................................................................

CHAPTER III
III. The stream of counscioussness technique.................................................................

Bibliography / Works Cited

Abstract

"What is so staggering about Ulysses is the fact that behind a thousand veils
nothing lies hidden; that it turns neither toward the mind nor toward the world, but, as
cold as the moon looking on from cosmic space, allows the drama of growth, being, and
decay to pursue its course."

Gustav Jung, Carl. Ulysses: A Monologue. Translation

by W.S. Dell of Jungs Wirklichkeit der Seele, published
in Nimbus, vol. 2, no. 1, JuneAugust 1953.
 Introduction

The realistic description of the external events is mixed with historical, literary,
religious and geographical allusions, while interior monologue is used to recreate the
characters most intimate and random thoughts. Word jokes, texts filled up with enough puns
to complete a comedians career combined with highly intellectual verbal exchanges are the
main characteristics that helped Joyce to picture the triviality of everyday life.

With the outbreak of the First World War, Joyce moved to neutral Switzerland where
he wrote Ulysses. The book was first published in serial form in a New York literary
periodical, but publication was suspended when the publisher was prosecuted for printing
obscene material (represented by the 13th chapter of the book entitled Nausicaa). In 1922,
Ulysses appeared in book form in Paris, where Joyce had settled, but continued to be banned
in English-speaking countries. The first English edition appeared in 1936. The time span of
this long and complex novel is one single day, 16th June 1904, the day Joyce met Nora
Barnacle.

In conclusion, Joyce minimised the dramatic element of the short story in favour of
symbolic meaning and a more static aesthetic.
Chapter I
I.1. Short biography
One of the greatest writers of the early twentieth century, James Augustine Aloysius
Joyce suffered from an incurable case of wanderlust. During his 58 years, he lived in many
different parts of the world.
Joyce was born on February 2nd, 1882, in Brighton Square, Rathgar, Dublin; he, who
was the eldest of 10 children in his family to survive infancy, was sent at the age of six to
Clongowes Wood College, as he was supposed to become a priest. He attended several
Jesuit schools and studied philosophy and languages at the University College, Dublin.
Announcing his intention to study medicine, Joyce moved to Paris in 1903, but had to
return to Dublin because of his mother's unfortunate death. Only one year later, in his early
twenties, Joyce emigrated to continental Europe with his partner (and later wife) Nora
Barnacle with whom he would leave his homeland forever. Joyce and Nora went into self-
imposed exile, moving first to Zurich in Switzerland, where he had supposedly acquired a
post to be an English teacher, and later, in Pola (territory of today's Croatia) and Trieste
(now Italy) . In 1904, Nora gave birth to their first child, Giorgio. Joyce became frustrated
with life in Trieste and moved to Rome in late 1906, having secured his employment as a
letter-writing clerk in a bank. He intensely disliked Rome and moved back to Trieste in
early 1907. His daughter Lucia was born later that year.
In 1915, after most of his students in Trieste were conscripted to fight in World War I,
Joyce moved to Zurich. During the period of time spent in the German city, he began
working seriously on Ulysses. Zurich was home to exiles and artists from across Europe
during the WWI , and its bohemian, multilingual atmosphere suited him. Nevertheless,
after four years he was restless, and after the war, he returned to Trieste as he had
originally planned. Joyce went to Paris in 1920 at an invitation of one of his acquaintances,
supposedly for a week; however, the family ended up living there for the next twenty
years.
Joyce set himself to finishing Ulysses in Paris, delighted to find that he was gradually
gaining fame as an avant-garde writer.
 Joyce returned to Zurich in the late 1940s, fleeing the Nazi occupation of France. On
January 11th, 1941 he underwent surgery in Zurich for a perforated ulcer. In spite of his
physical condition improving at first, he relapsed the following day, and despite several
transfusions, fell into a coma. He awoke at 2 a.m. on January 13th, 1941 and asked for a
nurse to call his wife and son, before losing consciousness again. They were still on their
way when he died 15 minutes later.

I.2. Major works

Known for reworking myth into contemporary narratives, as well as incorporating the
character of the city into his works, Joyce was one of the key players of Modernism, whose
works having defined the movement. Some of his great works are:
Dubliners a ground-breaking collection of short stories in which he strips
away all the decorations and flourishes of late-Victorian prose style- is his first
major work. Joyce minimised the dramatic element of the short story in favour
of symbolic meaning and a more static aesthetic. The collection ends with the
most famous of all Joyces stories The Dead. It caused controversy when it
first appeared and was the first of many of Joyces works to be banned in his
native country.
A Portrait of the Artist as a Young Man Joyces first complete novel. It
represents a largely autobiographical account of a young mans struggle with
Catholicism and his desire to forge himself as an artist. This highly acclaimed
work allows the reader to dive into the mind of Stephen Dedalus, Joyces literary
alter ego.
Finnegans Wake famous in literary circles as a great novel which almost no
one has ever read. Joyce said that he spent seventeen years of his life
writing Finnegans Wake and that he expected readers to spend the rest of their
lives trying to understand it.
Eveline short story featuring a female protagonist who must choose between
travelling a life full of love and adventure, and loyalty to her home and promises
of taking care of the house and family, Evelines dilemma is piteous and tragic.
As a character, Eveline is emblematic of the situations of many women in the
early 20th century, who were forced to choose between a life of domesticity and
stability or one of uncertainty and independence.
 Exiles Despite his early interest in theatre, Joyce published only one play that
looks back to The Dead (the final story in Dubliners) and forwards to Ulysses,
which Joyce began around the time of the play's composition.

Joyce also published a number of poetry books. His first mature published work was
the satirical broadside "The Holy Office" (1904), in which he proclaimed himself to be the
superior of many prominent members of the Celtic Revival. His first full-length poetry
collection Chamber Music consisted of 36 short lyrics. This publication led to his inclusion in
the Imagist Anthology, edited by Ezra Pound. Other poetry Joyce published in his lifetime
includes "Gas From A Burner" (1912), Pomes Penyeach (1927) and "Ecce Puer"(1932).

I.3. Religion and James Joyce/ Religiosity

When and to what degree James Joyce lost his faith in the Roman Catholic Church
specifically, or Christian religion more broadly, remain lingering questions for Joyce's readers.
Joyce's biographers place the date of his defection from the Church around the time he
attended Univerity College Dublin. Yet whether Joyce fully abandoned or somehow
aesthetically reshaped his religious faith remain issues of contestation. Joyces detachment
from Christianity, his literary challenges to Catholic doctrine and his subsequent reading in
anti-Catholic writing cannot be seen as evidence of a man struggling to maintain his faith, but
as the signs of a man who consciously chose to abandon the faith of his family and nation,
signs reflected in his masterpieces.

Chapter II

II.1.Background
Joyce divided Ulysses into 18 chapters or "episodes". At first glance, a significant part
of the book may appear unstructured, unorganised and chaotic; Joyce once said that he had
"put in so many enigmas and puzzles that it will keep the professors busy for centuries
arguing over what I meant", which would earn the novel "immortality".
Ulysses is constructed as a modern parallel to Homers Odyssey. Every episode
of Ulysses has a theme, technique, and correspondence between its characters and those of
the Odyssey. The original text did not include these episode titles and the correspondences;
instead, they originate from the Linati and Gilbert schemata. Joyce referred to the episodes by
their Homeric titles in his letters.
To underline the ironic contrast between the futile and the exhausted modern world and
the glorious era of ancient Greece, James Joyce gave a framework of the Odyssey of Homer
to his masterpiece. Leopold Bloom is Ulysses, Stephen, who is the spiritual son of Bloom is
linked to Ulyssess son, Telemachus and Molly represents Ulyssess wife, Penelope.

II.2.Structure
The literary experimentation is wedded to a formal structure that is consciously linked
to the mythical journey recounted in the Odyssey. The journey of the day is given a
mythical resonance, as Joyce mapped the events of the novel to episodes that occur in
Homers masterpiece.
Ulysses is often published with a table of parallels between the novel and the
classical poem; and, the scheme also offers insight into Joyce's experimental use of the
literary form, as well as some understanding of how much planning and concentration went
into the construction of Ulysses.
The novel is as difficult to summarize as it is difficult to read, but it has a remarkably
simple story. Not only does it narrow its temporal focus to a single day, it also widens its
scope to follow three major charactersStephen Dedalus, Leopold Bloom, and Molly Bloom
and even the city of Dublin itself.
Although James Joyce spent his adult life in self-imposed exile, his sensibility and
writing remained firmly grounded in Ireland. Joyce's fictional universe is centered on Dublin,
and is populated largely by characters who closely resemble family members, enemies and
friends from his time there (a minor acquaintance of his father, Alfred H. Hunter, who took
him into his house to take care of him when he got injured after James got caught in a fight,
was rumoured to be a Jew and to have an unfaithful wife; as it seems, Alfred would serve as
one of the models for Leopold Bloom, the protagonist of Ulysses). Ulysses, in particular, is
set with precision in the streets and alleyways of the city.
 II.3. Synopsis
Part one: The TELEMACHIAD (The Book Of Telemachus)

Episode 1: Telemachus

The book opens with Stephen coming up the steps of Martello Tower (outside Dublin,
overlooking the bay) to talk with his friend, Buck Mulligan. Buck teases Stephen about not
praying over his mother before she died, but Stephen is very serious about it. Stephen wants
Haines, an Englishman who is living with them, to move out. He has breakfast with Buck
Mulligan and Haines. After breakfast, they go down to the sea. Haines tries to engage Stephen
in conversation but he is stubborn and withdrawn. He tells Haines, "You behold in me a
horrible example of free thought" (1.295). When Haines supposes that Stephen is free to act as
he chooses, Stephen says that he is the servant of two masters an English and an Italian. He
spells it out and says that he is speaking of the imperial British state and the holy Roman
Catholic and apostolic church. Haines tries to sympathize with him, and Stephen thinks of all
the famous heresiarchs in Church history. Stephen says that he won't be swimming and leaves
Haines and Buck Mulligan by the sea, but not before Buck Mulligan asks for the house key
and twopence for a pint. Stephen leaves them.

Episode 2: Nestor

At the start of Episode 2, Stephen is caught in the act of teaching a class in Dalkey,
questioning his students about Pyrrhus. It is clear that Stephen is not a very good teacher; he
makes inside jokes with himself that go over the students' heads. Stephen helps a student with
his math problems after class. At first, he thinks the student is pathetic, but then takes a more
sympathetic view. He thinks of the love the student's mother must have nourished on him.
Stephen meets with Mr. Deasy, the head of the school, in his office. Deasy lectures Stephen
and tells him the proudest thing a man can say is that he paid his way. Stephen admits to
himself that he cannot say this. Deasy says he knew that Stephen wouldn't and says that
though they are generous they must also be just. Stephen says, "I fear those big words which
make us so unhappy" (2.122). Deasy has written an article on hoof and mouth disease that the
wants Stephen to deliver to the press. Stephen agrees. When Deasy begins going on about
what a problem Jews are and how they work against the progress of history, Stephen says,
"History is a nightmare from which I am trying to awake" (2.157). Mr. Deasy claims that all
history moves toward one great purpose and they are not to question his ways. There is the
cheer of a goal, and Stephen claims, "That is God" (2.162). He says God is "A shout in the
street" (2.165). Deasy says Stephen will not remain long at the school, and Stephen agrees. As
he leaves, Deasy runs out after him and tells one last anti-Semitic joke. Stephen does not
respond, but as Deasy returns, Stephen thinks that the leaves look like sun-spangled coins.

Episode 3: Proteus

It's about 11am, and Stephen has come to Dublin from Dalkey by way of public
transportation. As you might recall, he has a set meeting with Mulligan at 12:30pm, and in the
meantime he has wandered down to Sandymount Strand (the beach at the east-most side of
Dublin) to stroll along the beach and think think think. Stephen wanders up and down the
Strand and thinks about religion, philosophy, his times in Paris, and his own remorse over his
mother. At first, his thoughts are highly abstract. Yet they gradually become more and more
concerned with his surroundings. Stephen sees the bloated carcass of a dog, and thinks,
"These heavy sands are language tide and wind have silted here" (3.62). After Stephen passes
another couple, he sits down on a rock and jots out a poem on a scrap of Deasy's letter. He
realizes that he does not know "that word known to all men," i.e. love (3.80). Stephen thinks
about death at sea and picks his nose. When he begins to feel as though someone is behind
him, he turns and sees a ship coming into the bay.

Part two: The ODYSSEY (The Wandering Of Ulysses)

 Episode 4: Calypso

Leopold Bloom, an endearing unheroic 38-year-old Dublin-born Jew of Hungarian

ancestry who canvasses newspaper advertisements for a living, is pressented as Odysseus
himself in his modern manifestation. The narrative shifts abruptly. The time is again 8 am, but
the action has moved to the city and to the second protagonist of the book, Leopold Bloom, a
part-Jewish advertising canvasser. Bloom, after starting to prepare breakfast, decides to walk
to a butcher to buy a pork kidney. Returning home, he prepares breakfast and brings it with
the mail to his wife Molly as she lounges in bed. One of the letters is from her concert
manager Blazes Boylan. Bloom is aware that Molly will welcome Boylan into her bed later
that day, and is tormented by the thought. Bloom reads a letter from their daughter Milly
Bloom. The chapter closes with Bloom defecating in the outhouse.

Episode 5: Lotus Eaters

Bloom makes his way to Westland Row post office where he receives a love letter
from one 'Martha Clifford' addressed to his pseudonym, 'Henry Flower'. He meets an
acquaintance, and while they chat, Bloom attempts to ogle a woman wearing stockings, but is
prevented by a passing tram. Next, he reads the letter and tears up the envelope in an alley. He
wanders into a Catholic church service and muses on theology. The priest has the letters
I.N.R.I. or I.H.S. on his back; Molly had told Bloom that they meant I have sinned or I have
suffered, and Iron nails ran in. He goes to a chemist where he buys a bar of lemon soap. He
then meets another acquaintance, Bantam Lyons, who mistakenly takes him to be offering a
racing tip for the horse Throwaway. Finally, Bloom heads towards the baths.

Episode 6: Hades
 The episode begins with Bloom entering a funeral carriage with three others, including
Stephen's father. They drive to Paddy Dignam's funeral, making small talk on the way. The
carriage passes both Stephen and Blazes Boylan. There is a discussion of various forms of
death and burial, and Bloom is preoccupied with thoughts of his dead son, Rudy, and the
suicide of his own father. They enter the chapel into the service and subsequently leave with
the coffin cart. Bloom sees a mysterious man wearing a mackintosh during the burial. Bloom
continues to reflect upon death, but at the end of the episode rejects morbid thoughts to
embrace 'warm full-blooded life'.

Episode 7: Aeolus

It's shortly after noon at the offices of The Freeman's Journal (and the Evening
Telegraph). Stephen Dedalus enters the office behind O'Madden Burke. The editor greets
Dedalus, who gives him Deasy's article on foot and mouth disease. Professor O'Molloy and
Crawford, the editor of the paper, joke with Stephen and ask what he has been writing lately.
When Professor O'Molloy recalls a beautiful speech by Seymour Bushe, Stephen almost
swoons at the language. A few minutes later, he suggests they all go for a drink at a nearby
bar. On the way, Stephen tells Professor MacHugh an idea he has for a piece. It's a parable
about two old women who climb Nelson's Pillar (pillar in the center of Dublin, no longer
there), eat plums, and throw the seeds down onto Dublin. MacHugh picks up on all of the
literary allusions in the parable and thinks it is very clever.

Episode 8: Lestrygonians

Bloom's thoughts are peppered with references to food as lunchtime approaches. He

meets an old flame and hears news of Mina Purefoy's labour. He enters the restaurant of the
Burton Hotel where he is revolted by the sight of men eating like animals. He goes instead to
Davy Byrne's pub and muses upon the early days of his relationship with Molly and how the
marriage has declined: 'Me. And me now.' Bloom's thoughts touch on what goddesses and
gods eat and drink. On leaving the pub Bloom heads toward the museum, but spots Boylan
across the street and, panicking, rushes into the gallery across the street from the museum.
 Episode 9: Scylla and Charybdis

It's 2pm in the National Library. Stephen is joking with John Eglinton, the librarian,
and George William Russell, a well-renowned mystical poet in Dublin. They want to know
what he is working on. They debate Aristotelian versus Platonic views of art and begin to
discuss Shakespeare's Hamlet. Stephen argues that Shakespeare drew heavily on his own life
in order to write Hamlet, particularly on his relationship with his father and with Ann
Hathaway. Russell strongly disagrees with him. When Eglinton suggests that Shakespeare's
marriage to Hathaway was a mistake, Stephen snapped back, "Bosh! A man of genius makes
no mistakes. His errors are volitional and are the portals of discovery" (9.90). When Russell
announces that he is going to leave, they talk about a poetry reading. They fail to invite
Stephen and he feels left out. Eglinton is very skeptical of Stephen's argument so Stephen
circles back and makes it more elaborate. Mulligan appears while Stephen is explaining the
theory. He gives Stephen a hard time for ditching him and Haines at the bar and Stephen
laughs. Stephen argues that fatherhood is nothing but a mystical state, and concludes that
Shakespeare was his own father. Eglinton now seems impressed. Stephen wraps his argument.
Then "he laughs to free his mind from his mind's bondage" (9.365). When Eglinton asks if
Stephen believes his own theory, he says that he does not believe it. As Stephen and Mulligan
pass out, they see Bloom. Mulligan jokes that Stephen should watch out for Bloom because he
thinks he saw Bloom turn a lustful eye on Stephen.

Episode 10: The Wandering Rocks

Stephen runs into his sister at a bookcart on Bedford Row. She has bought a French
primer in an effort to learn French. Stephen tries to act as if this is only natural. Looking at
her, Stephen thinks, "She is drowning. Agenbite. Save her. Agenbite. All against us. She will
drown me with her, eyes and hair. Lank coils of seaweed hair around me, my heart, my soul.
Salt green death" (10. 477). He is torn between the desire to pull her out of her miserable
situation, and the fear of being dragged into it with her.

Episode 11: Sirens

In this episode, dominated by motifs of music, Bloom has dinner with Stephen's uncle
at a hotel, while Molly's lover, Blazes Boylan, proceeds to his rendezvous with her. While
dining, Bloom watches the seductive barmaids and listens to the singing of Stephen's father
and others.

Episode 12: Cyclops

The narrator meets Joe Hynes on the street, and agrees to get a drink at Barney
Kiernans pub so Hynes can tell the citizen about the foot-and-mouth disease cattle meeting. A
passage in the style of old Celtic sagas describes the marketplace they walk past as a land of
plenty. Arriving at the pub, they greet the citizen and his dog, Garryowen. The citizen is
described at length, mock-heroically. Alf Bergan enters, laughing at Denis Breen, who is
walking by outside with his wife. Bergan tells the story of Breens U.p: up postcard and
orders a Guinness from the bartender. The citizen notices Bloom pacing outside and wonders
with hostility what he is doinghe refers to Bloom as a freemason. Talk switches to Paddy
Dignam. Bob Doran (a character from Dubliners) rails loudly at the cruelty of God to take
Dignam away (Doran is on his annual drinking binge). Bloom entershe is supposed to meet
Martin Cunningham. Hynes tries to buy Bloom a drink, but Bloom politely refuses. The
subject of hangings is raised, and Bloom speaks pedantically about capital punishment. The
citizen dominates the conversation, recalling hanged Irish nationalists. Bloom is trying to
make a fine point about hangings, but the citizen interrupts him with narrow-minded
nationalistic sentiments. Hynes orders another round. The narrator is bitter that Bloom will
not drink nor buy rounds. Bloom explains he is meeting Cunningham to visit Mrs. Dignam.
Bloom launches into an explanation of the insurance complexities.
 Episode 13: Nausicaa
This chapter was the main reason for this book to be marked as innapropriate,
therefore, to be forbidden in the U.K., and lately, in the U.S.
The style of the first half of the episode borrows from (and parodies) romance
magazines and novelettes.
Gerty MacDowell, a young woman on Sandymount strand, contemplates love,
marriage and femininity as night falls. The reader is gradually made aware that Bloom is
watching her from a distance, and as she exposes her legs to him, it is unclear how much of
the narators account is actually Blooms sexual fantasy.

Episode 14: Oxen of the Sun

It is 10pm at the National Maternity Hospital. Stephen is sitting in a room of medical

professionals, students, and men about town. He is the drunkest of them all. He is blabbering
on about Church teachings having to do with pregnancy, but most of the men are ignoring
him. Bloom watches him as he goes on about the passage from death to life. A thunderclap is
heard and Stephen becomes scared; he seems to think that God is punishing him for his
blasphemy. Stephen suggests they all go to Burke's pub, which they do. He drinks absinthe
(very strong liquor) there and buys the first few rounds. He wonders off to Nighttown (the red
light district) when the bar closes. Bloom follows behind.

Episode 15: Circe

 Recall that the episode opens at midnight, that it is told in the form of a play dialogue,
and that much of it consists of the dreamscapes of Bloom and Stephen. Stephen and Lynch are
in high spirits as they wander the streets. Stephen calls for gesture to become a universal
language, but Lynch dismisses the idea as "pornosophical philotheology" (15.21). A bit later,
when Bloom finds the two of them in the brothel, Stephen is sitting alone at the piano, playing
drunkenly. When Lynch laughs at Stephen, Zoe says, "God help your head, he knows more
than you have forgotten" (15.436). The prostitutes try to get Stephen to sing, but he says that
he is a finished artist. Stephen has a dialogue with the drunk and sober personifications of his
conscience. Stephen tries to pay the prostitute madame, but gives her too much. Bloom takes
his cash so he won't lose it. The girls are quite taken with Stephen and begins acting like a
French prostitute. Bloom watches over him paternally. Stephen begins dancing with the
prostitute Zoe, but when he has an image of his dead mother rising up to greet him, he
becomes terrified. When the ghost asks him to repent, he begins crying nonsensically (for the
others to hear): "The intellectual imagination! With me all or not all. Non serviam!" (15.915).
Stephen raises his ashplant, smashes the chandelier and rushes out of the brothel. He gets into
an argument with an English constable, Private Carr, on the corner. He speaks
condescendingly to Carr, and when Carr thinks that he has insulted the English king, he
punches him in the face. Stephen curls up on the sidewalk.

Part three: The NOSTOS

Episode 16: Eumaeus

It is 1am on the corner of Beaver Street. Bloom helps Stephen up, and the two of them
go to a shelter under Loop Line Bridge. Stephen runs into his acquaintance, Corley. He loans
Corley money, and Bloom thinks that Stephen has been too generous. When Bloom asks
Stephen why he left his father's house, and Stephen says, "To seek misfortune" (16.27).
Bloom tells Stephen that his father takes great pride in him and notes that Mulligan is taking
advantage of him. Stephen doesn't respond. At the cabmen's shelter, Bloom orders for the two
of them while Stephen listens to some men haggle in Italian. Stephen begins to discuss the
soul with Bloom. When Bloom describes his idea of a utopia for Stephen, Stephen becomes
sullen because it leaves out a place for the artist. Bloom shows Stephen a picture of Molly and
invites him to come home with him. Stephen agrees. They walk arm in arm to Bloom's house
discussing different types of music. When Stephen sings a few lines in German, Bloom is
baffled by how good he is.

Episode 17: Ithaca

It's 2am as Bloom and Stephen make their way from the cabmen's shelter to Bloom's
house at 7 Eccles Street. On the way, they discuss music, literature, Dublin, women, diet, and
the Roman Catholic Church. Stephen shares his views on "the eternal affirmation of the spirit
of man in literature" (17.4). Inside, Bloom makes cocoa for Stephen. They discuss a woman
that they new in common, Mrs. Riordan. Stephen tells Bloom "The Parable of the Plums."
They discuss famous Jews, and Stephen shares his knowledge of Gaelic with Bloom.
Stephen's sings an anti-Semitic song. He imagines both he and Bloom could be the victims in
the song, but it makes Bloom unhappy. When Bloom proposes Stephen stay the night,
Stephen politely declines. He suggests they go pee in the garden. They do, and they see a
shooting star. They make a number of plans before Stephen departs: Molly will give Stephen
vocal lessons; Stephen will give Molly Italian lessons; Bloom and Stephen will meet for
intellectual discussions. Before parting, Stephen " affirmed his significance as a conscious
rational animal proceeding syllogistically from the known to the unknown and a conscious
rational reagent between a micro- and a macrocosm ineluctably constructed upon the
incertitude of the void" (17.149). They shake hands and Stephen walks off, alone, into the
night.

Episode 18: Penelope

 Having heard about Stephen from Bloom, Molly thinks of maybe taking Italian
lessons from him in the future. She imagines that she could teach him some Spanish, and
thinks she will study so that he won't think that she is ignorant. At first, Molly fantasizes a
romantic relationship for her and Stephen, but her thoughts eventually become more motherly.
She thinks that the reason Stephen is carousing about town is because he doesn't have a
mother, and imagines him staying with her and Leopold.

Chapter III

III.The stream of counscioussness technique

In literary criticism, stream of consciousness, also known as interior monologue, is
a narrative mode or device that depicts the multitudinous thoughts and feelings which pass
through the mind.
Joyces Ulysses has been famous for his stylistic experimentation and innovation that is
a stream of consciousness technique. He has used multiple narratives extensively along with
the shifts in each new episode of the novel. James noted the use of a streamto aid the
description of the ceaseless flow of disparate idead, feelings and memories as they occur in
the mind of an individual in their active state of awareness.
Written in a wide variety of styles, completely full of an encyclopedia's worth of
allusions abundant in subtle jokes, the novel focuses on one day June 16, 1904 in the life
of Mr. Leopold Bloom, a middle-aged Jewish man living in Dublin, Ireland. The
groundbreaking stream-of-consciousness style allows the reader not only to trace the actions
of Mr. Bloom's day, but also to follow the movement of his thoughts, to hear the inner timbre
of his needs and desires, his joy and his despair.

Bibliography